Not just the only UK and US No 1 album to feature death metal blastbeats, Iowa was also evidence of a band undergoing some kind of demented collective meltdown. Released in 2001, Slipknot’s second album, Iowa, somehow outstripped the rapacious intensity of its predecessor, taking the band into much darker and more threatening territory. Photograph: Gary Wolstenholme/Redferns via Getty Images 4 People=Shit That a band so self-evidently extreme can command such a huge mainstream audience, while seldom compromising on a creative level, says it all about why this band have been so loved for so long.Ĭorey Taylor … Donning the mask at Donington in 2013. Snooty critics may mock such a simple act of physical unity, but the old cliche about heavy music providing catharsis for both its creators and those who embrace its music and culture rings particularly true when it comes to Slipknot. When its final blur of rampaging aggression explodes, the audience jump to their feet and go righteously mental. It has long been a tradition at Slipknot shows for the entire audience to be ordered, by amiable but commanding frontman Corey Taylor, to down during the middle of this song. And yes, there are few more peculiar singalong refrains than “You can’t see California without Marlon Brando’s eyes!”
Lyrically, too, Slipknot went against the grain from the start, combining metal’s abrupt defiance with a strain of surrealism and dark poetry that indicated a deftly expressed intelligence that has since become a hallmark of the band’s music. Eyeless is a case in point its jittery breakbeats and squalling sound effects bring extra layers of chaos and menace to the band’s runaway train momentum and fist-to-face ferocity. Slipknot’s sound has always hinged on the power and force of their riffs, but there is far more to their sound than mere metallic bombast.